THE BRITISH TOMMY AND HIS PICTURE.

Press, Volume LIV, Issue 16147, 27 February 1918, Page 9

THE BRITISH TOMMY AND HIS PICTURE.

FRANCE, December 11. One of tho flourishing trades in the little towns and villages behind the line in Franco is the photographer's. The soldier has a universal ionancss for having his picture taken. pith the British Tommy, the visit to tho village camera man is a regular event or the greatest importance, and requires great preparations. Ho borrows the best pair of putttos in hts section, or, better still, a pair of field-service boots, brushes his clothes with great care, cleans his belt and bandolier, and polishes his buttons. If he belongs to a mounted corps, his spurs and cutting whip will make a great display, for although everybody agrees that in this war the infantry is the most important branch, there is still a glamour attaching to the mounted man, even if his mount be only a cart horse or a mule. Equestrian portraits are much in demand, it is said, by the girls at home. As often as not, Tommy gets photopraghed in a group with four or five men from his section. For one tiling, this is cheaper. For another, it supplies a testimonial of the good company he keeps, and of the fine fellows that his section —always the "finest in tho army"—is composed of. Thousands of these photographs are sent every day from Franco to England. The officer whoso business it is to censor Private Atldns'3 correspondence gets very tired of seeing that noble hero's countenance enclosed in overy letter he sends for weeks after the event, and the number of feminine admirers entitled to copies of the photographic artist's production seems to be unlimited.

The prevalence of the group photograph leads to many romantic developments. Some "girl friend" of the recipient admires "the good-lookin" lance-corporal next to you, Tom," and a new correspondence starts up under fatherly eye of the censorship officer.